Guilty, The

In "The Guilty," police officer Asger Holm (Cedergren) is demoted to desk work. There he expects a sleepy beat as an emergency dispatcher. That all changes when he answers a panicked phone call from a kidnapped woman who then disconnects abruptly. Asger, confined to the police station, is forced to us others as his eyes and ears as the severity of the crime slowly becomes more clear. The search to find the missing woman and her assailant will take every bit of his intuition and skill, as a ticking clock and his own personal demons conspire against him. (Gary Reber)

Special features include only upfront previews and a BD-Live digital copy.

The 2.39:1 1080p AVC picture, reviewed on a Sony Bravia Z9D 4K Ultra HD HDR display, upconverted to 2160p with greater resolution and luminance, was photographed digitally and sourced from a 2K master Digital Intermediate format. The imagery is confined to a police station and a policeman sitting at his desk wearing a head phone while answering and talking on the phone. In front of him are computer monitors, which he views, and a keyboard. For the most part the imagery is confined to this setting. There are segments in which he walks into another room while talking and viewing computer screens. Amazingly, the drama glues one to the screen reading Danish subtitles. Picture quality is good with fine detail exhibited in close-ups of the policeman on the phone. Skin textures, pores, sweat, beard stubble and hair are all nicely resolved, as is his uniform. The color palette is perfectly natural, as are fleshtones. Contrast is limited but realistic. This is a most unusual thriller and picture that is totally engaging. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is available in Danish and dubbed English. The soundtrack impressively supports the environment of the policeman on the phone and is focused on his talking into a phone headset. His voice is perfectly natural and perfectly integrated spatially, while the person(s) voice on the line sounds realistically distorted through the line and into the policeman's ear. The telephone ring is realistic, and the sound of his movements at his desk are also very realistic and natural-sounding. At times, the soundtrack opens up with road sounds characterized with strong bass. At one point, falling rain can even be heard. Nuanced sounds are heard throughout. Toward the end the policeman breaks some objects in the office out of frustration, and there is a loud buzzing sound and strong deep bass in the .1 LFE channel. Essentially, there is no music on the soundtrack except for a brief segment at the end, and then a synthesizer/organ. While a most unusual close-in set, this is a surprisingly effective and convincingly engaging soundtrack. (Gary Reber)